.jpg?w=1)
Lot Essay
By the early 1960's, Chu Teh-Chun's artistic explorations had completely leaped into the freedom of abstraction. When he delved into the artistic vocabulary of abstract expression of Western modernism, the compositions of Eastern landscape, and the spirit-capturing nature of the Chinese brush, he also inherited the unparalleled techniques and renewed interpretations in the painting discipline. In 1962, the artist painted a small series of oil paintings mainly in the horizontal format with a reduced and spacious composition. No. 126 (Lot 104) belongs to this short-lived yet stylistically distinct period of the artist's career.
The top two-thirds of this work is empty - Chu Teh-Chun chose to use the traditional treatment in mountain-water painting of leaving a large amount of blank space on the composition. As we direct our gazes towards the bottom of the painting, we see his economical yet broad brushwork sweeping horizontally. These warm brown strokes flow from the left and right edges of the painting and converge in the center, the execution of which harkens back to the visual experience of the ancient mountain-water painting in the horizontal scroll format. This vast expanse exudes an air of tranquility that fills the entire visual atmosphere.
The black ink lines surge wildly across the painting like a lithe dancer, and the razor-sharp calligraphic brushstrokes intersect with each other. The torrent of ink washes collides with the network of outlines in this seemingly simplistic composition. This meticulously assembled area of tension creates a visual focus that captivates the viewer. Chu Teh-Chun had accumulated volumes of experience in calligraphy since he was young. Not only did he acquire an affinity for the brush that could superbly express all the nuances of the medium, he also thoroughly unleashed the beauty that resides in the long tradition of Chinese calligraphy and ink painting. Such strong foundations and impeccable artistic lineage make Chu Teh-Chun stand head and shoulders above the leagues of western abstract artists.
The unmatched beauty of No. 126 comes from the exquisite subtleties and rich layering in the foreground. Although it takes up an extremely small amount of space in the picture plane, it has the breadth of mountain ranges rolling across the endless horizon. Within such dense brushwork emanates a significant sense of mass that poses a stark contrast to the virtually infinite space on the vast upper part of the painting.
In terms of the dialogue between the void and the concrete, the depth of Chu Teh-Chun's exploration of the subject in this work is comparable to the aesthetic concept of expansive spaces in Compendium of Mountain and Water Painting by Han Zhuo. This wistful landscape also echoes Wang Wei's idea of "Rivers flow far beyond the lands, and the colours of the landscape is veiled in immateriality". In this free-flowing abstract exploration, Chu Teh-Chun pays tribute to the long lineage of the literati school of thought: using representations of the intangible to convey the intrinsic essence hidden within poetry. The truth in nature is revealed, and it is transmitted in the most imaginative way.
The top two-thirds of this work is empty - Chu Teh-Chun chose to use the traditional treatment in mountain-water painting of leaving a large amount of blank space on the composition. As we direct our gazes towards the bottom of the painting, we see his economical yet broad brushwork sweeping horizontally. These warm brown strokes flow from the left and right edges of the painting and converge in the center, the execution of which harkens back to the visual experience of the ancient mountain-water painting in the horizontal scroll format. This vast expanse exudes an air of tranquility that fills the entire visual atmosphere.
The black ink lines surge wildly across the painting like a lithe dancer, and the razor-sharp calligraphic brushstrokes intersect with each other. The torrent of ink washes collides with the network of outlines in this seemingly simplistic composition. This meticulously assembled area of tension creates a visual focus that captivates the viewer. Chu Teh-Chun had accumulated volumes of experience in calligraphy since he was young. Not only did he acquire an affinity for the brush that could superbly express all the nuances of the medium, he also thoroughly unleashed the beauty that resides in the long tradition of Chinese calligraphy and ink painting. Such strong foundations and impeccable artistic lineage make Chu Teh-Chun stand head and shoulders above the leagues of western abstract artists.
The unmatched beauty of No. 126 comes from the exquisite subtleties and rich layering in the foreground. Although it takes up an extremely small amount of space in the picture plane, it has the breadth of mountain ranges rolling across the endless horizon. Within such dense brushwork emanates a significant sense of mass that poses a stark contrast to the virtually infinite space on the vast upper part of the painting.
In terms of the dialogue between the void and the concrete, the depth of Chu Teh-Chun's exploration of the subject in this work is comparable to the aesthetic concept of expansive spaces in Compendium of Mountain and Water Painting by Han Zhuo. This wistful landscape also echoes Wang Wei's idea of "Rivers flow far beyond the lands, and the colours of the landscape is veiled in immateriality". In this free-flowing abstract exploration, Chu Teh-Chun pays tribute to the long lineage of the literati school of thought: using representations of the intangible to convey the intrinsic essence hidden within poetry. The truth in nature is revealed, and it is transmitted in the most imaginative way.